BloodLust! is pleased to announce the release of an uncompromising set of recordings by The Guilt Of..., a new and extremely fruitful collaboration between Mike Williams [Eyehategod, Outlaw Order, Arson Anthem] and Ryan McKern [Wolvhammer]. This disc quickly follows their recent split 10-inch with Ivs Primae Noctis [2010, Trips und Träume] and their new split LP with Merzbow [2010, Chrome Peeler]. Williams' last BloodLust! appearance was on the BLOODYMINDED "Gift Givers" CD [B!045, 2005], on the track "Ten Suicides." In 2009, Chrome Peeler released a Mike Williams 7-inch that featured Ryan McKern's soundscapes under Williams' spoken passages on the A-side, and a new remix of "Ten Suicides" by Mark Solotroff on the B-side. That release seemed to set the stage for the emergence of this new TGO... CD on BloodLust! Also of note is a live collaboration between Williams, McKern, Joey LaCaze [Eyehategod, Outlaw Order], and three members of BLOODYMINDED - James Moy, Isidro Reyes, and Mark Solotroff - who performed at Chicago's Reckless Records as Ten Suicides on June 20, 2010. Thus, the time certainly seemed right to unleash this hard-to-classify new group's music on BloodLust! Equal parts experimental noise, early industrial, sludge-metal, and crust-punk, the six tracks that make up this album hark back to a forgotten point in time, when labels like Relapse, Earache, Roadrunner, and Pathological were releasing weird hybrid records by groups such as Malformed Earthborn, Thorn, Candiru, Techno Animal, Dead World, etc. At the time, it seemed like the worlds of metal, punk, and industrial would forever go on to intermingle and reconfigure in continually evolving new forms - but things did not quite work out that way. Some innovative artists and musicians of the period, such as Williams, continued to keep an open mind and never allowed themselves to be easily pigeonholed. With The Guilt Of..., Williams has the perfect outlet for his singular, dark world view, building upon the narratives created for his metal and punk incarnations, and seen in his groundbreaking book "Cancer as a Social Activity: Affirmations of World's End" [Southern Roots Publishing, 2005]. With McKern's instrumental expertise and his own wide range of tastes, Williams has just the right partner with whom he can spew his thought provoking, Manson-obsessed, Burroughsian cut-up writings. These are professionally duplicated CDs, with single panel, double-sided inserts, featuring color artwork; in jewel boxes with shrinkwrap; released in 2010.

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BloodLust! is pleased to announce the debut release by Seattle, Washington's Masturbatory Dysfunction. On offer are eight startling and strong compositions that straddle the lines between harsh noise, synth noise, and death-industrial - somewhere in the neighborhood of a vocal-less Pharmakon, as a starting point, at least. But let's not start some East Coast - West Coast rivalry here. And let's also not overlook how curiously Masturbatory Dysfunction sits next to Climax Denial, another sonic point of reference, to some degree. The young woman behind this solo project had been in touch with BloodLust! for a while, before news of her recordings reached the label. Once her unique concept and methodology had been revealed, there was no question that a release was in order. Amazingly, these recordings were exclusively made during business hours - lunch hour, typically - at a leading national music equipment retailer. The artist behind MD would take a recording device into the store with her - typically a digital video camera - and she would proceed to try out the synthesizers that were available to customers for demonstration - at high-volume, no less. Without trying to be sexist here, if a typical noise guy tried to do this they would definitely be asked to leave the store. But MD, as we shall call her from now on, managed to repeatedly push the limits of how long, how loud, and how frequently she could blast away at the store, capturing a sizable body of work in the process. Tracks were then transferred to computer, edited for time, mastered for maximum sonic potency, and selected for this, her first collection. The term "Getting Caught" functions on multiple levels for MD, both in the obvious sense, as well as in her sexually and criminally based themes. It all works so nicely on multiple levels, which makes this such a powerful debut and such a pleasure to release. These are professionally duplicated CDs, with single panel, double-sided inserts, featuring color artwork; in jewel boxes with shrinkwrap; released in 2010.

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BloodLust! is pleased to announce the fourth release in the Mark Solotroff "Archive" series. In the planning stages for over two years, this series of seven CDs will cover all of Solotroff's solo output, released under his own name in 1995 and 1996. All of these recordings were originally released on cassette by a small group of labels, including BloodLust!, G.R.O.S.S. [Japan], Less Than Zero [Italy], Old Europa Cafe [Italy], and Slaughter Productions [Italy]. Each release will include bonus material, consisting of either compilation tracks from the same labels, or newly created remixes. At the time that these recordings were made, Solotroff had switched gears between Intrinsic Action and BLOODYMINDED and he had recently completed the recording of the first 50 analog synthesizer-based Super Eight Loop cassettes. This small body of work gave Solotroff the opportunity to put away the synths and to try something different. In 1995, the idea of using guitar effect pedals as ones primary "instrument" in making heavy noise was still fairly novel, and Solotroff made use of an arsenal of distortion, delay, flanger, phaser, and other pedals, running either radio frequencies [scanner or shortwave] or his voice through the complex chain of FX. The results fit squarely into what was, at the time, being discussed as a new American noise style that was developing away from the power-electronics scene, and which eventually evolved into the harsh noise subgenre of today.

For the fourth entry in the series, the two core tracks are taken from Solotroff's 1996 cassette on Slaughter Productions, "Evidence To Suggest Postmortem Sexual Assault" [SPT 91], and the bonus track is derived from the same label's creatively packaged 1995 cassette compilation, "Extreme Pleasures Vol. I." Hand-written notes and diagrams that were saved indicate that Solotroff employed a variety of equipment in the main recording sessions, including a battery of effect pedals, in conjunction with scanner, radio, and analog synth [Arp Axxe]. Unlike previous entries in the series, the two core tracks on this CD focus on bass, exploiting the low-end rumble as far as possible, without letting the master go beyond the point of no return. Thus, the focus is less on brutal volume and more on maintaining the bass-driven wall of noise. The compilation track, however, offers variety in the form of crisp higher-end noise that is delivered at suitablly high volume, so as to shock anyone back to reality, should the rumble have caused them to drift too far away. The packaging for these releases is based upon the format established with the two Mark Solotroff + Sshe Retina Stimulants CDs that were released by BloodLust! in 2008 [B!101 + B!102], and the entire series will follow this unifying template. These are professionally duplicated CDs, with single panel, double-sided inserts, featuring color artwork; in jewel boxes with shrinkwrap; released in 2010.

Price:$14.00 USA/$16.00 Canada+Mexico/$18.00 Rest of World @ postpaid(Wholesale rates available to distributors, mail-order services, and record stores; please inquire)Please use bludlust@mindspring.com for PayPal payments